PROMETHEUS IN HOMER'S METER
Lefteris Kaliambos (Poet and Natural Philosopher in New Energy) September 12, 2018 Writing in Google "Natural Philosophy WIKI" one sees that WIKIPEDIA in the category NEW ENERGY describes my discovery of dipolic photons presented at the international conference "Frontiers of fundamental physics" (1993) organized by M.Barone and F. Selleri. Also writing in Google “Cosmogony in Homer’s meter” one sees that it was presented at the Twenty-second World Conference of Poems that took place on June 29th to July 3th in Larissa in 2011. Here this poetic work refers to Greek mythology with poems in a rhythm of the primordial Homeric poetry. It was written in modern Greek and in English as a part of my book entitled "COSMOGONY IN HOMER'S METER". The photo shows the poets from all over the world, where in the summer of 2011 on one of the greenest slopes beyond the famous valley of Tempe, touched by the sea breeze of the Aegean Sea, I expressed in Homeric poetry the ancient myths of the Olympian Gods and the philosophy of the cosmogonic Greek philosophers. Τhis primitive rhythm of poems revives for the first time not only in Modern Greek but also in English. As a result, the UNITED POETS LAUREATE INTERNATIONAL awarded me a poetry award. (Μύθοι Ελλήνων σε ποίηση). Ηere the lesson and poetry at Homer rhythm expresses the mythological and philosophical element of ancient Greeks as the theory of the Big Bang of the Universe can not embroiled with the infinite chaos of the Infinite Worlds of Anaximander’s philosophy. The mythical deities of Homer contain the fantastic element of the ancient Greeks, and their poetic representation was deemed convenient by the primitive Homeric hexameter of 17 syllables. So on the Mount Olympus, with so many celestial riots in the blast, the powers of the Olympian Gods lead us to a rich Homeric journey full of emotions and dreams. A rational interpretation certainly kills the joy of the poetic expression of myths, because it compresses emotional creations into deformed logical shapes. According to Greek mythology the Titan winner, Zeus, established the etheric government at Olympus, leaving the turbulent Poseidon to dominate the turbulent seas. And since the great Godhead ruled the clouds of the heavens and the dense storms with the muddled cataclysms on Mount Olympus, he will shade the mortals with the fire of lightning, when the thunders of lightning will burn the pine scent on the slopes of the mountain peaks. However, the mythical benefactor of the mortals, the great Titan Prometheus, with the theft of the fire by Olympus, confesses to the tragedy of Aeschylus how he succeeded after Zeus wrath to steal the fire from the cliffs of Olympus for the good of the people by saying the following words: "People to hear that while they were like babies first, I put brakes on them ... Neither stone-faced proselyte houses knew, nor the woods worked, but in sunless caves dug like hoarsome ants." Such a cosmogonic act I would have to revive it poetically, since the celestial fire from the skies will drive the darkness out of the caves to bring the human race through the darkness of ignorance. With the flames of fire, the amorphous metals will be transformed into tools to make the stone-built houses and the earth to be planted. But for this act Prometheus was harshly punished by the goddess of the gods, Zeus, standing on nailed rocks where an eagle with sharp nails would squeeze his miserable body. Indeed in his tragedy Aeschylus reveals the heroic resistance of the chained Prometheus to the will of Zeus and expresses the unstoppable struggle of the righteousness of the people against the authoritarian power. In addition, the poetic expression of this tragedy was presented just as it was written in Modern Greek and in English according to the first verse of the Odyssey. That is, the pause is at the end of the eighth syllable, as shown in the following Homeric poem, which I presented for Prometheus Bound to the worthy poets of the whole world at a green slope beyond the valley of Tempe. According to WIKIPEDIA, the theme of Prometheus Bound is the conflict between force and justice. The Supreme God Zeus has bound Prometheus to rock in a remote corner of the earth, because Prometheus gave the gift of fire to humanity, and the race whom Zeus had sought to destroy. PROMETHEUS BOUND IN HOMER'S METER LIKE THE POEM OF ODYSSEY Forces from heavens possesses, the ruler of gods and of mortals over the top of Olympus, and over the clouds of ether far away from thrown, and lightning like the flashes scattered on rocks of Olympus, to shine the stones for ever. Zeus with flames and smokes, became the lord of the Gaia. Amorphous metals for melting, to make weapons of forces Zeus became a master, to threaten the creatures in tears. Great Prometheus came, for robbing the spark of Olympus shining Greeks with light, to bring all the longing of mortals exporting the dark of the caves, to keep the warmth of the people. Smokes from hell in the darkness, became the sparkle of Gaia Tremendous flames of fire, were used for a glorious culture. Melting a mass of the metals, to make swords and sharp axes Greeks in the thickets of country, cut wood for the tools of their culture having a force of the giants, to make the plows of ground. Zeus was burning with anger, because of such glorious progress. Feared for greatest learning, from mystics of clouds and heavens ordered the forces of State to tie Prometheus upstairs on tremendous rocks on a mount, to cry in lonely place under a murderous eagle, for tearing fleshes of body. Lord of the ether and clouds, and rivers and gorges of Gaia see the master of terror that Titan's body is writhing. After reading this poem I can recall that the Homeric epics have been written in the so-called finger hex, where the seventeen-sided finger was used mainly for Homeric epics, but later also for philosophy. The finger hex is composed of six fingers (UU) or combinations of fingers and teeth (-) and has the following sequence: -UU / -UU / -UU / -UU / -UU / - where (-) is the long syllable and (U) or short. However, the Modern Greek language cannot easily restore the musical accent of the ancient, as it does not have a musical but dynamic tone. That is why, in the Modern Greek language, the monotonic system was introduced. Because today's dynamic tone has somewhat replaced the tone of music and because the rhythm of the Iliad generally differs from the rhythm of the Odyssey to the point where the rhapsode should stop to take a pause. In the Iliad, we generally had a pause behind the seventh syllable, where the last accent gives the impression of a wartime rhythm as shown in the following symbolism: -UU / -UU / -, UU / -UU / -UU / - For example, in the first verse of the Iliad we had a pause just behind the seventh syllable as shown below Μήνιν άειδε θεά, Πηληιάδεω Αχιλήω While in the Odyssey we were paused behind the eighth syllable to give the impression of a peaceful rhythm as shown in the example: -UU / -UU / - U, U / -UU / -UU / - Because of the first verse of the Odyssey, we paused just behind the word muse as shown below Άνδρα μοι έννεπε μούσα, πολύτροπον Ός μάλα πολλά So, on this basis, I managed to build a similar rhythm in both Modern Greek and English. In the poem about Prometheus Bound it is clear that the pause for breath is just behind the eighth syllable.